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Keith Jones


Taking Emily St. John Mandel's Station Eleven and Gary Schmidt's Wednesday Wars as test cases, this article explores generic considerations in modern novels that employ Shakespeare but do not retell or recast the plot of any particular work by Shakespeare. Questions to be considered include how the works employ the Shakespearean genres of comedy, tragedy, history, romance and tragicomedy to create their own genres – and, conceivably, to transcend them. The article will also consider the mainstream appropriation of Shakespeare in Mandel and Schmidt. The Three Fates by Linda Lê will be briefly examined as a less straightforward reworking of the material of a single Shakespeare play (King Lear).

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Canon Fodder and Conscripted Genres

The Hogarth Project and the Modern Shakespeare Novel

Laurie E. Osborne

-profile Shakespearean novels. 3 The first Hogarth novel, The Gap of Time , also participates in the recent adapters’ choices of lesser-known Shakespearean sources, a noteworthy trend in modern Shakespeare novels. 4 As ‘collective acts of Shakespearean adaptation

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Shakespeare and the Modern Novel

Graham Holderness

Shakespeare appropriated the Italian novel. In our own twenty-first century, the Shakespearean novel is undergoing a Renaissance. The long prose narrative has been energised by interfaces with different media, especially TV, film and the internet. New